Break-even point is a speculative exhibition exploring labour in art, looking at what happens at the intersection of the arts worker/artist experience, and wondering what makes it worth it?

Paper Feed reimagines the endless scroll as a wind-activated field of drawing, movement and landscape. Through accumulation of analogue mark-making, Kristone Capistrano considers how the handmade image might interrupt screen-based habits of looking, drawing viewers into a slower encounter with memory, presence and the sublime.

Discord Kittens and Muck Puppies explores sentiments of loneliness, grief and misunderstanding as digital connection feels atomised through quantity rather than quality of contact. What happens when signals are crossed rather than interrupted? What does it mean to feel isolated in a mass culture distilled or distorted through personalisation, algorithms and a lack of shared language? How and where do we find connection when we are struggling to relate to each other?

Gummamagic is Edward Barns’ second solo exhibition and first Sydney presentation, capturing the animals surrounding his home in Gumma on the Mid North Coast of NSW. Drawn from observing the surrounding environment with his mother, Donna, the paintings reflect the wildlife Ed greets daily, alongside an immersive soundscape created together that brings the landscape to life.

In the Presence of Self (al-nafs) is grounded in repetition as both a meditative process and a quiet act of resistance, drawing on the spiritual tradition of dhikr (remembrance). The work invites the viewer into a space of tazkiyah (purification and contemplation), where the act of creation becomes ritual, discipline, and inner refinement.

From pencil to pixel, Small Frame is an assembly of experimental animated works that foreground technique and material in physical space. Curated by Jenn Tran, the exhibition brings together independent animators Jent Do, Milly Yencken, Quinn Franks, Eleanor Evans, and Tiff Yue — artists working and recognised across Australia and internationally.

Moving in (the next world) builds on Come As You Are, Little Umbrella Collective’s online exhibition, bringing the work into a shared physical environment. The exhibition shifts focus from individual practices to collaboration, imagining the gallery as a space of dwelling. Through painting, textile, sculpture and installation, artists collectively shape a home built through care, access and community.

Having Swallowed a Mirror meditates on the idea that a portrait of someone else is also a portrait of the artist. This exhibition brings together three early-career artists exploring contemporary portrait painting and suggests that the practice of portrait making is a way of looking inward by looking outward.

Message Depth is an installation that examines the hidden infrastructures shaping contemporary life.

Water frames displacement and return in Ballast, a work in conversation with Les Kennedy’s unfinished research into the HMAS Sydney II shipwreck and the familial loss it holds.

Drawing from experiences and knowledges across the Great Ocean, fa’alogo ‘o le temporary obstructions is an offering that echoes from Sāmoa, and into the labours of the dispersed.

Join us for Co-working Wednesdays, a weekly, low commitment, community networking opportunity held after business hours on Wednesday from 5:30 pm to 7:30 pm (during exhibition periods).

Enjoy after hours access to cutting edge exhibitions every Wednesday until 8pm.

stockpiler is an installation drawn from the remnants of her childhood garage, a room shaped by generations of quiet accumulation and a mosaic of several conflated identities.

Guess what? In the '70s PM Gough Whitlam held an anthem quest to replace God Save the Queen. The Australian people responded eagerly with entries in notation, lyric and tape-recorded form.

Firstdraft is reviving our screening program to support ten artists working across video, film, and screen-based practice. The screening program runs from December 2025 - March 2026, offering multiple perspectives responding to two curatorial premises.

Residue, curated by Georgia Boe as a part of Firstdraft’s First Nations Curator Program, brings together the practices of three artists at different stages of their careers, working in diverse ways with charcoal.

Come As You Are introduces the individual practices that form the foundation of Little Umbrella Collective (LUC).

Fog of war is a military metaphor that has been adopted as a mechanic in strategy-map-based video games. It appears as a darkened foggy area around a player’s avatar or base, differentiating the unexplored from the explored territory on a map shared with hidden enemies.

Penal colony, police state, imperial pawn. From its genesis, Australia has operated as a carceral and militarised state. How are artists responding to a structure that is physical, legal, and material—its legacies and its projections onto other places on the planet? Hijacking, intervention, documentation, glitching—fugitive artistic methods.